DOI Page / Citation link:
https://doi.org/10.11588/diglit.5253#0595
NIKE OF SAMOTHRAKE. 559
preceding centuries. Comparing form and details of these wings with those of
the sculptured columns of Ephesos, how much more feathery and downy the
marble here has become ! In like manner, comparison with the dawning realism
of the Mausoleum folds, or even with the carefully studied, quiet lines of the
Hermes' mantle, to say nothing of the plain folds of Paionios' Nike, the com-
panion figure in Selections, Plate XIV., shows how much nearer nature are the
texture and surface of these rushing, swelling folds. How complicated also
the pose of this goddess! the upper part of the grand body swings to the left,
while the motion of the whole sweeps forward in a direct line. Especially do
these more advanced features appear when compared with the simpler pose of
the older Nike by Paionios. Excavations have shown, that the numerous new
temples and other structures of Samothrake were built in the first part of the
third century B.C., about the older, less sumptuous sanctuary of the preceding
age ; and the commanding position of this great statue, towering above all the
other monuments of the valley, is clearly chosen with reference to them. This
seems another evidence that its date may be fixed in the first part of the third
century. Besides, the technique of this colossal figure is no longer that of old,
but resembles that of the later marbles from Pergamon. Instead of the solid
blocks which in the olden time were used for single figures, here pieces of mar-
ble are joined together with almost incredible skill and pains. By this marvel-
lous handling of the marble, the ponderous material was naturally robbed of its
impression of weight ; and far greater boldness was permitted the sculptor,
tempting him, we must believe, to rival even painting or bronze in his obdurate
stone, as seems evident in the fragments of the swelling mantle, still preserved.
Viewing the tremendous action in this imposing ruin, and catching the grand
lines of the noble form, how strong becomes our desire to see the goddess
complete once again, as she stormed down on her swift errand in the palmy
days of Samothrake! Erom the fragments it appears, that both arms were
raised, perhaps with the sounding trumpet ; while the head, following the
motion of the body, was turned momentarily to the left, facing, doubtless, those
approaching from the stoa.'"5 This side of the statue, moreover, from which
it would usually be seen, is its only highly finished part, and shows that
freedom and bold skill, so much to be admired in most original works of later
Greek art. But the back, which could not appear, having been in front of a
cyclopean wall across the end of the valley, is left entirely in the rough ; and
the farther side is but hastily sketched out. The composition, moreover, is
such that the lines seen from the side which looked down upon the stoa appear
to greatest advantage. This shows that the statue was conceived directly in
connection with its surroundings, and that its lines were intended to be set
off by the neighboring architecture, and perhaps by a background of color, —
bits of painted stucco having been discovered among the ruins. The creators
•of this powerful work are unknown. The name of Eutychides, scholar of
preceding centuries. Comparing form and details of these wings with those of
the sculptured columns of Ephesos, how much more feathery and downy the
marble here has become ! In like manner, comparison with the dawning realism
of the Mausoleum folds, or even with the carefully studied, quiet lines of the
Hermes' mantle, to say nothing of the plain folds of Paionios' Nike, the com-
panion figure in Selections, Plate XIV., shows how much nearer nature are the
texture and surface of these rushing, swelling folds. How complicated also
the pose of this goddess! the upper part of the grand body swings to the left,
while the motion of the whole sweeps forward in a direct line. Especially do
these more advanced features appear when compared with the simpler pose of
the older Nike by Paionios. Excavations have shown, that the numerous new
temples and other structures of Samothrake were built in the first part of the
third century B.C., about the older, less sumptuous sanctuary of the preceding
age ; and the commanding position of this great statue, towering above all the
other monuments of the valley, is clearly chosen with reference to them. This
seems another evidence that its date may be fixed in the first part of the third
century. Besides, the technique of this colossal figure is no longer that of old,
but resembles that of the later marbles from Pergamon. Instead of the solid
blocks which in the olden time were used for single figures, here pieces of mar-
ble are joined together with almost incredible skill and pains. By this marvel-
lous handling of the marble, the ponderous material was naturally robbed of its
impression of weight ; and far greater boldness was permitted the sculptor,
tempting him, we must believe, to rival even painting or bronze in his obdurate
stone, as seems evident in the fragments of the swelling mantle, still preserved.
Viewing the tremendous action in this imposing ruin, and catching the grand
lines of the noble form, how strong becomes our desire to see the goddess
complete once again, as she stormed down on her swift errand in the palmy
days of Samothrake! Erom the fragments it appears, that both arms were
raised, perhaps with the sounding trumpet ; while the head, following the
motion of the body, was turned momentarily to the left, facing, doubtless, those
approaching from the stoa.'"5 This side of the statue, moreover, from which
it would usually be seen, is its only highly finished part, and shows that
freedom and bold skill, so much to be admired in most original works of later
Greek art. But the back, which could not appear, having been in front of a
cyclopean wall across the end of the valley, is left entirely in the rough ; and
the farther side is but hastily sketched out. The composition, moreover, is
such that the lines seen from the side which looked down upon the stoa appear
to greatest advantage. This shows that the statue was conceived directly in
connection with its surroundings, and that its lines were intended to be set
off by the neighboring architecture, and perhaps by a background of color, —
bits of painted stucco having been discovered among the ruins. The creators
•of this powerful work are unknown. The name of Eutychides, scholar of